been erased.<footnote><para>
See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: Prometheus Books,
2001), ch. 13.
+<indexterm><primary>Litman, Jessica</primary></indexterm>
</para></footnote>
The Internet has set the stage for this erasure and, pushed by big
media, the law has now affected it. For the first time in our
</para>
</chapter>
<!-- PAGE BREAK 29 -->
-<chapter id="c-piracy">
+<part id="c-piracy">
<title>"PIRACY"</title>
-
+<partintro>
<!-- PAGE BREAK 30 -->
<indexterm id="idxmansfield1" class='startofrange'>
<primary>Mansfield, William Murray, Lord</primary>
understanding that tradition a bit more and by placing in their proper
context the current battles about behavior labeled "piracy."
</para>
+</partintro>
<!-- PAGE BREAK 34 -->
-<sect1 id="creators">
+<chapter id="creators">
<title>CHAPTER ONE: Creators</title>
<para>
In 1928, a cartoon character was born. An early Mickey Mouse
</para>
<!-- PAGE BREAK 44 -->
-</sect1>
-<sect1 id="mere-copyists">
+</chapter>
+<chapter id="mere-copyists">
<title>CHAPTER TWO: "Mere Copyists"</title>
<indexterm><primary>Daguerre, Louis</primary></indexterm>
<para>
chapter 9, quipped to me in a rare moment of despondence.
</para>
<!-- PAGE BREAK 61 -->
-</sect1>
-<sect1 id="catalogs">
+</chapter>
+<chapter id="catalogs">
<title>CHAPTER THREE: Catalogs</title>
<para>
In the fall of 2002, Jesse Jordan of Oceanside, New York, enrolled as
wrong message. And he wants to correct the record."
</para>
<!-- PAGE BREAK 66 -->
-</sect1>
-<sect1 id="pirates">
+</chapter>
+<chapter id="pirates">
<title>CHAPTER FOUR: "Pirates"</title>
<para>
If "piracy" means using the creative property of others without
kind of piracy so defined. The consistent story is how last generation's
pirates join this generation's country club—until now.
</para>
-<sect2 id="film">
+<section id="film">
<title>Film</title>
<para>
The film industry of Hollywood was built by fleeing pirates.<footnote><para>
expired. A new industry had been born, in part from the piracy of
Edison's creative property.
</para>
-</sect2>
-<sect2 id="recordedmusic">
+</section>
+<section id="recordedmusic">
<title>Recorded Music</title>
<para>
The record industry was born of another kind of piracy, though to see
By limiting the rights musicians have, by partially pirating their
creative work, the record producers, and the public, benefit.
</para>
-</sect2>
-<sect2 id="radio">
+</section>
+<section id="radio">
<title>Radio</title>
<para>
Radio was also born of piracy.
the choice for him or her, the law gives the radio station the right
to take something for nothing.
</para>
-</sect2>
-<sect2 id="cabletv">
+</section>
+<section id="cabletv">
<title>Cable TV</title>
<para>
last. Every generation—until now.
</para>
<!-- PAGE BREAK 75 -->
-</sect2>
-</sect1>
-<sect1 id="piracy">
+</section>
+</chapter>
+<chapter id="piracy">
<title>CHAPTER FIVE: "Piracy"</title>
<para>
There is piracy of copyrighted material. Lots of it. This piracy comes
has so often done in the past.
<!-- PAGE BREAK 76 -->
</para>
-<sect2 id="piracy-i">
+<section id="piracy-i">
<title>Piracy I</title>
<para>
All across the world, but especially in Asia and Eastern Europe, there
Microsoft Windows, the Chinese used the free GNU/Linux operating
system, then these Chinese users would not eventually be buying
Microsoft. Without piracy, then, Microsoft would lose.
+<indexterm><primary>Linux operating system</primary></indexterm>
+<indexterm>
+<primary>Microsoft</primary>
+<secondary>Windows operating system of</secondary>
+</indexterm>
<indexterm><primary>Windows</primary></indexterm>
</para>
<para>
what—at least ordinarily. And if the law properly balances the
rights of the copyright owner with the rights of access, then
violating the law is still wrong.
+<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
<!-- PAGE BREAK 79 -->
should push us to find a way to protect artists while enabling this
sharing to survive.
</para>
-</sect2>
-<sect2 id="piracy-ii">
+</section>
+<section id="piracy-ii">
<title>Piracy II</title>
<para>
The key to the "piracy" that the law aims to quash is a use that "rob[s]
products. This job usually falls to outside innovators, who
reassemble existing technology in inventive ways. For a discussion of
Christensen's ideas, see Lawrence Lessig, <citetitle>Future</citetitle>, 89–92, 139.
+
<indexterm><primary>Christensen, Clayton M.</primary></indexterm>
</para></footnote>), Shawn Fanning and crew had simply
put together components that had been developed independently.
it should be protected just as any other property is protected."
</para>
<!-- PAGE BREAK 93 -->
-</sect2>
-</sect1>
+</section>
</chapter>
-<chapter id="c-property">
+</part>
+<part id="c-property">
<title>"PROPERTY"</title>
+<partintro>
<para>
<!-- PAGE BREAK 94 -->
more clear, and its implications will be revealed as quite different
from the implications that the copyright warriors would have us draw.
</para>
+</partintro>
<!-- PAGE BREAK 96 -->
-<sect1 id="founders">
+<chapter id="founders">
<title>CHAPTER SIX: Founders</title>
<para>
William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. The play
published. But after it expired, there was no positive law that said
that the publishers, or "Stationers," had an exclusive right to print
books.
+<indexterm><primary>Licensing Act (1662)</primary></indexterm>
</para>
<para>
There was no <emphasis>positive</emphasis> law, but that didn't mean
protected.
</para>
<!-- PAGE BREAK 106 -->
-</sect1>
-<sect1 id="recorders">
+</chapter>
+<chapter id="recorders">
<title>CHAPTER SEVEN: Recorders</title>
<para>
Jon Else is a filmmaker. He is best known for his documentaries and
not.
</para>
<!-- PAGE BREAK 111 -->
-</sect1>
-<sect1 id="transformers">
+</chapter>
+<chapter id="transformers">
<title>CHAPTER EIGHT: Transformers</title>
<indexterm><primary>Allen, Paul</primary></indexterm>
<indexterm><primary>Alben, Alex</primary></indexterm>
curse, reserved for the few.
</para>
<!-- PAGE BREAK 119 -->
-</sect1>
-<sect1 id="collectors">
+</chapter>
+<chapter id="collectors">
<title>CHAPTER NINE: Collectors</title>
<para>
In April 1996, millions of "bots"—computer codes designed to
that Kahle and others would exercise.
</para>
<!-- PAGE BREAK 127 -->
-</sect1>
-<sect1 id="property-i">
+</chapter>
+<chapter id="property-i">
<title>CHAPTER TEN: "Property"</title>
<para>
Jack Valenti has been the president of the Motion Picture Association
<indexterm><primary>Commons, John R.</primary></indexterm>
</para></footnote>
</para>
-<sect2 id="hollywood">
+<section id="hollywood">
<title>Why Hollywood Is Right</title>
<para>
The most obvious point that this model reveals is just why, or just
be lost.
</para>
<indexterm startref="idxddt" class='endofrange'/>
-</sect2>
-<sect2 id="beginnings">
+</section>
+<section id="beginnings">
<title>Beginnings</title>
<para>
America copied English copyright law. Actually, we copied and improved
Let me explain how.
<!-- PAGE BREAK 144 -->
</para>
-</sect2>
-<sect2 id="lawduration">
+</section>
+<section id="lawduration">
<title>Law: Duration</title>
<para>
When the first Congress enacted laws to protect creative property, it
</para></footnote>
</para>
<!-- PAGE BREAK 147 -->
-</sect2>
-<sect2 id="lawscope">
+</section>
+<section id="lawscope">
<title>Law: Scope</title>
<para>
The "scope" of a copyright is the range of rights granted by the law.
to make clear that this expansion is a significant change from the
rights originally granted.
</para>
-</sect2>
-<sect2 id="lawreach">
+</section>
+<section id="lawreach">
<title>Law and Architecture: Reach</title>
<para>
Whereas originally the law regulated only publishers, the change in
owners choose. In some contexts, at least, that fact is harmless. But
in some contexts it is a recipe for disaster.
</para>
-</sect2>
-<sect2 id="lawforce">
+</section>
+<section id="lawforce">
<title>Architecture and Law: Force</title>
<para>
The disappearance of unregulated uses would be change enough, but a
your freedom.
</para>
<indexterm><primary>Casablanca</primary></indexterm>
+<indexterm id="idxmarxbrothers" class='startofrange'>
+ <primary>Marx Brothers</primary>
+</indexterm>
+<indexterm id="idxwarnerbrothers" class='startofrange'>
+ <primary>Warner Brothers</primary>
+</indexterm>
<para>
There's a famous story about a battle between the Marx Brothers
and Warner Brothers. The Marxes intended to make a parody of
(including Warner Brothers) enjoyed.
</para>
<para>
-On the Internet, however, there is no check on silly rules, because
-on the Internet, increasingly, rules are enforced not by a human but by
-a machine: Increasingly, the rules of copyright law, as interpreted by
-the copyright owner, get built into the technology that delivers
- copyrighted
-content. It is code, rather than law, that rules. And the problem
-with code regulations is that, unlike law, code has no shame. Code
-would not get the humor of the Marx Brothers. The consequence of
-that is not at all funny.
+On the Internet, however, there is no check on silly rules, because on
+the Internet, increasingly, rules are enforced not by a human but by a
+machine: Increasingly, the rules of copyright law, as interpreted by
+the copyright owner, get built into the technology that delivers
+copyrighted content. It is code, rather than law, that rules. And the
+problem with code regulations is that, unlike law, code has no
+shame. Code would not get the humor of the Marx Brothers. The
+consequence of that is not at all funny.
</para>
+<indexterm startref="idxwarnerbrothers" class='endofrange'/>
+<indexterm startref="idxmarxbrothers" class='endofrange'/>
<para>
Consider the life of my Adobe eBook Reader.
</para>
<para>
Here's the e-book for another work in the public domain (including the
translation): Aristotle's <citetitle>Politics</citetitle>.
+<indexterm><primary>Aristotle</primary></indexterm>
+<indexterm><primary><citetitle>Politics</citetitle>, (Aristotle)</primary></indexterm>
</para>
<figure id="fig-1621">
<title>E-book of Aristotle;s "Politics"</title>
</figure>
<para>
Finally (and most embarrassingly), here are the permissions for the
-original e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:
+original e-book version of my last book, <citetitle>The Future of
+Ideas</citetitle>:
</para>
<!-- PAGE BREAK 162 -->
<figure id="fig-1631">
No copying, no printing, and don't you dare try to listen to this book!
</para>
<para>
-Now, the Adobe eBook Reader calls these controls "permissions"—
-as if the publisher has the power to control how you use these works.
-For works under copyright, the copyright owner certainly does have
-the power—up to the limits of the copyright law. But for work not
- under
-
copyright, there is no such copyright power.<footnote><para>
+Now, the Adobe eBook Reader calls these controls
+"permissions"— as if the publisher has the power to control how
+you use these works. For works under copyright, the copyright owner
+certainly does have the power—up to the limits of the copyright
+law. But for work not under copyright, there is no such copyright
+power.<footnote><para>
<!-- f21 -->
-In principle, a contract might impose a requirement on me. I might, for
-example, buy a book from you that includes a contract that says I will read
-it only three times, or that I promise to read it three times. But that
- obligation
-(and the limits for creating that obligation) would come from the
-contract, not from copyright law, and the obligations of contract would
-not necessarily pass to anyone who subsequently acquired the book.
+In principle, a contract might impose a requirement on me. I might,
+for example, buy a book from you that includes a contract that says I
+will read it only three times, or that I promise to read it three
+times. But that obligation (and the limits for creating that
+obligation) would come from the contract, not from copyright law, and
+the obligations of contract would not necessarily pass to anyone who
+subsequently acquired the book.
</para></footnote>
-When my e-book of <citetitle>Middlemarch</citetitle> says I have the permission to
-copy only ten text selections into the memory every ten days, what
-that really means is that the eBook Reader has enabled the publisher
-to control how I use the book on my computer, far beyond the control
-that the law would enable.
+When my e-book of <citetitle>Middlemarch</citetitle> says I have the
+permission to copy only ten text selections into the memory every ten
+days, what that really means is that the eBook Reader has enabled the
+publisher to control how I use the book on my computer, far beyond the
+control that the law would enable.
</para>
<para>
The control comes instead from the code—from the technology
world where the Marx Brothers sold word processing software that, when
you tried to type "Warner Brothers," erased "Brothers" from the
sentence.
+<indexterm><primary>Marx Brothers</primary></indexterm>
</para>
<para>
This is the future of copyright law: not so much copyright
</para>
<para>
How significant is this? Isn't it always possible to get around the
-controls built into the technology? Software used to be sold with
- technologies
-that limited the ability of users to copy the software, but those
-were trivial protections to defeat. Why won't it be trivial to defeat these
-protections as well?
+controls built into the technology? Software used to be sold with
+technologies that limited the ability of users to copy the software,
+but those were trivial protections to defeat. Why won't it be trivial
+to defeat these protections as well?
</para>
<para>
We've only scratched the surface of this story. Return to the Adobe
eBook Reader.
</para>
<para>
-Early in the life of the Adobe eBook Reader, Adobe suffered a
- public
-relations nightmare. Among the books that you could download for
-free on the Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</citetitle>.
-This wonderful book is in the public domain. Yet when you clicked on
-Permissions for that book, you got the following report:
+Early in the life of the Adobe eBook Reader, Adobe suffered a public
+relations nightmare. Among the books that you could download for free
+on the Adobe site was a copy of <citetitle>Alice's Adventures in
+Wonderland</citetitle>. This wonderful book is in the public
+domain. Yet when you clicked on Permissions for that book, you got the
+following report:
</para>
<figure id="fig-1641">
<title>List of the permissions for "Alice's Adventures in
one step before the state started issuing tickets based upon the data you
transmitted. That is, in effect, what is happening here.
</para>
-</sect2>
-<sect2 id="marketconcentration">
+</section>
+<section id="marketconcentration">
<title>Market: Concentration</title>
<para>
So copyright's duration has increased dramatically—tripled in
selects. But you should not like a world in which a mere few get to
decide which issues the rest of us get to know about.
</para>
-</sect2>
-<sect2 id="together">
+</section>
+<section id="together">
<title>Together</title>
<para>
There is something innocent and obvious about the claim of the
lawyer.
</para>
<!-- PAGE BREAK 185 -->
-</sect2>
-</sect1>
+</section>
</chapter>
-<chapter id="c-puzzles">
+</part>
+<part id="c-puzzles">
<title>PUZZLES</title>
-<para></para>
+
<!-- PAGE BREAK 186 -->
-<sect1 id="chimera">
+<chapter id="chimera">
<title>CHAPTER ELEVEN: Chimera</title>
<indexterm id="idxchimera" class='startofrange'>
<primary>chimeras</primary>
</para>
<!-- PAGE BREAK 192 -->
-</sect1>
-<sect1 id="harms">
+</chapter>
+<chapter id="harms">
<title>CHAPTER TWELVE: Harms</title>
<para>
first two protect modern RCAs, but there is no Howard Armstrong in
the wings to fight today's monopolists of culture.
</para>
-<sect2 id="constrain">
+<section id="constrain">
<title>Constraining Creators</title>
<para>
In the next ten years we will see an explosion of digital
permission. That's the point at which they control it.
</para>
</blockquote>
-</sect2>
-<sect2 id="innovators">
+</section>
+<section id="innovators">
<title>Constraining Innovators</title>
<para>
The story of the last section was a crunchy-lefty
Litman in her book <citetitle>Digital Copyright</citetitle>,<footnote><para>
<!-- f9. --> Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: Prometheus Books,
2001).
+<indexterm><primary>Litman, Jessica</primary></indexterm>
</para></footnote>
overall this history of copyright
is not bad. As chapter 10 details, when new technologies have come
practically no one, on either the right or the left, who is doing anything
effective to prevent it.
</para>
-</sect2>
-<sect2 id="corruptingcitizens">
+</section>
+<section id="corruptingcitizens">
<title>Corrupting Citizens</title>
<para>
Overregulation stifles creativity. It smothers innovation. It gives
</para>
<!-- PAGE BREAK 217 -->
-</sect2>
-</sect1>
+</section>
</chapter>
-<chapter id="c-balances">
+</part>
+<part id="c-balances">
<title>BALANCES</title>
+<partintro>
<!-- PAGE BREAK 218 -->
<para>
debate. We must understand these failures if we're to understand what
success will require.
</para>
+</partintro>
<!-- PAGE BREAK 220 -->
-<sect1 id="eldred">
+<chapter id="eldred">
<title>CHAPTER THIRTEEN: Eldred</title>
<para>
In 1995, a father was frustrated that his daughters didn't seem to
exhaustive and uncontroverted brief by the world's experts in the
history of the Progress Clause. And of course, there was a new brief
by Eagle Forum, repeating and strengthening its arguments.
+<indexterm><primary>Linux operating system</primary></indexterm>
<indexterm><primary>Eagle Forum</primary></indexterm>
</para>
<para>
better lawyer would have made them see differently.
</para>
<!-- PAGE BREAK 254 -->
-</sect1>
-<sect1 id="eldred-ii">
+</chapter>
+<chapter id="eldred-ii">
<title>CHAPTER FOURTEEN: Eldred II</title>
<para>
The day <citetitle>Eldred</citetitle> was decided, fate would have it that I was to travel to
controlled by this dead (and often unfindable) hand of the past.
</para>
<!-- PAGE BREAK 264 -->
-</sect1>
</chapter>
-<chapter id="c-conclusion">
+</part>
+<part id="c-conclusion">
<title>CONCLUSION</title>
+<partintro>
<para>
There are more than 35 million people with the AIDS virus
worldwide. Twenty-five million of them live in sub-Saharan Africa.
permitted within the European Union.<footnote>
<para>
<!-- f2. -->
-See Peter Drahos with John Braithwaite, Information Feudalism: <citetitle>Who
+See Peter Drahos with John Braithwaite, <citetitle>Information Feudalism: Who
Owns the Knowledge Economy?</citetitle> (New York: The New Press, 2003), 37.
<indexterm><primary>Braithwaite, John</primary></indexterm>
<indexterm><primary>Drahos, Peter</primary></indexterm>
May 2001), available at
<ulink url="http://free-culture.cc/notes/">link #63</ulink>.
</para></footnote>
+<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
More important for our purposes, to support "open source and free
<!-- PAGE BREAK 279 -->
</para>
-</chapter>
-<chapter id="c-afterword">
+</partintro>
+<chapter><title></title><para></para></chapter>
+</part>
+<part id="c-afterword">
<title>AFTERWORD</title>
+<partintro>
<para>
<!-- PAGE BREAK 280 -->
</para>
<!-- PAGE BREAK 281 -->
-<sect1 id="usnow">
+<section id="usnow">
<title>US, NOW</title>
<para>
Common sense is with the copyright warriors because the debate so far
before.
</para>
-<sect2 id="examples">
+<section id="examples">
<title>Rebuilding Freedoms Previously Presumed: Examples</title>
<para>
If you step back from the battle I've been describing here, you will
system, so that at least a strain of free software would survive. That
was the birth of the GNU project, into which Linus Torvalds's "Linux"
kernel was added to produce the GNU/Linux operating system.
+<indexterm><primary>Linux operating system</primary></indexterm>
</para>
<para>
Stallman's technique was to use copyright law to build a world of
and science.
</para>
-</sect2>
-<sect2 id="oneidea">
+</section>
+<section id="oneidea">
<title>Rebuilding Free Culture: One Idea</title>
<indexterm id="idxcc" class='startofrange'>
<primary>Creative Commons</primary>
<indexterm startref="idxcc" class='endofrange'/>
<!-- PAGE BREAK 292 -->
-</sect2>
-</sect1>
-<sect1 id="themsoon">
+</section>
+</section>
+<section id="themsoon">
<title>THEM, SOON</title>
<para>
We will not reclaim a free culture by individual action alone. It will
to our end.
</para>
-<sect2 id="formalities">
+<section id="formalities">
<title>1. More Formalities</title>
<para>
If you buy a house, you have to record the sale in a deed. If you buy land
<!-- PAGE BREAK 294 -->
-<sect3 id="registration">
+<section id="registration">
<title>REGISTRATION AND RENEWAL</title>
<para>
Under the old system, a copyright owner had to file a registration
of registrations that would facilitate the licensing of content.
</para>
-</sect3>
-<sect3 id="marking">
+</section>
+<section id="marking">
<title>MARKING</title>
<para>
It used to be that the failure to include a copyright notice on a
</para>
<!-- PAGE BREAK 297 -->
-</sect3>
-</sect2>
-<sect2 id="shortterms">
+</section>
+</section>
+<section id="shortterms">
<title>2. Shorter Terms</title>
<para>
The term of copyright has gone from fourteen years to ninety-five
<!-- PAGE BREAK 299 -->
-</sect2>
-<sect2 id="freefairuse">
+</section>
+<section id="freefairuse">
<title>3. Free Use Vs. Fair Use</title>
<para>
As I observed at the beginning of this book, property law originally
a great deal of culture to others to cultivate. And under a statutory
rights regime, that reuse would earn artists more income.
</para>
-</sect2>
+</section>
-<sect2 id="liberatemusic">
+<section id="liberatemusic">
<title>4. Liberate the Music—Again</title>
<para>
The battle that got this whole war going was about music, so it
should be on how to make sure the artists are paid, while protecting
the space for innovation and creativity that the Internet is.
</para>
-</sect2>
+</section>
-<sect2 id="firelawyers">
+<section id="firelawyers">
<title>5. Fire Lots of Lawyers</title>
<para>
I'm a lawyer. I make lawyers for a living. I believe in the law. I believe
keep your lawyers away.
</para>
<!-- PAGE BREAK 312 -->
-</sect2>
-</sect1>
-</chapter>
+</section>
+</section>
+</partintro>
+<chapter><title></title><para></para></chapter>
+</part>
<chapter id="c-notes">
<title>NOTES</title>
<para>
projects / text-free-culture-lessig.git / blobdiff